<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9799c7e80680e080216jpeg.jpg" alt="" width="1298" height="956"/><figcaption></figcaption></figure><a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/mithila-art-with-a-message/&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGzXhBe09gq1Bzvn7tX9ABeTznuIA">Ranju Yadav’s</a> modern take on traditional art injects progressive messaging into <a href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNG6G0QglI_y52O-zS5JPE6Brdxv3g">Mithila art</a> adorning households in the Nepal Tarai as she transfers heritage from walls to canvas and easel.Touching on issues of patriarchy such as women’s empowerment, dowry and foeticide, Yadav’s work stays true to the <a href="http://archive.nepalitimes.com/news.php?id=8294#.X3vnSS8RoWp" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D8294%23.X3vnSS8RoWp&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGHuEXrpT4CHCMllfEINKFs4zO32w">techniques of Mithila art</a> while communicating the need for reform and social justice.The folk art uses the traditional sideway faces, elongated almond eyes and traditional attire for her figures — all hallmarks of Mithila art. Geometric borders and vibrant colours also add to the traditional look and feel as well as techniques like Mokh Chitra and Arpan that pay homage to her roots.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd97d9c7e80680e080217jpeg.jpg" alt="" width="1470" height="962"><figcaption></figcaption></figure>Despite the organic style, Yadav does not shy from social commentary. Her piece ‘Disaster Tourism’ makes light of the government’s ineffective response to floods in the Tarai, using satire and irony to show feckless politicians ‘inspecting’ the damage from afar.Communicating injustice and societal wrongs through art has always been Yadav’s motivation, and she is an advocate of the real-world benefits of <a href="http://archive.nepalitimes.com/news.php?id=6697#.X3vnbS8RoWp" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D6697%23.X3vnbS8RoWp&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNF4aSsZ473_06fEJYziL_aFh9vPMw">Mithila art in a conservative society</a> skewed by gender imbalance. Many of her painting depict emancipation: women flying helicopters, driving cars, being set free from cages.She says, “I am satisfied if my art manages to enlighten even just one person. Most Mithila women are skilled in traditional art, and if those skills can be applied to canvas, income can be generated, heritage preserved at the same time. The bonus is that they also get to spread message about the need for change.”Her work has catapulted traditional Mithila art onto the international stage, gathering acclaim for preserving cultural values with a painstaking attention to detail. Just one of her pieces, which can take up to a month-and-half to complete, sell for as high as Rs100,000.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9809c7e80680e080218jpeg.jpg" alt="" width="640" height="311">Ranju Yadav was born in Paterawa in Saptari, and was brought up learning to paint scenes from the Ramayana and Krishna-Lila on the walls of her home from her mother, aunts and grandmother – just like the art form has been passed down from one generation of Maithil women to the next in the region of an <a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGUYnSUtf-sOAm3jBVH36Cp-Kmjaw">ancient empire</a> that once spanned today’s India and Nepal and once even included Kathmandu Valley.Despite personal difficulties like losing her father and failing to clear the Civil Service examinations, Yadav persevered and honed her craft after she moved to Rajbiraj to live with her extended family. There, she was called upon to paint walls during festivals.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9839c7e80680e080219jpeg.jpg" alt="" width="1298" height="918">But her big break came when Milthila artist Ajit Sah came across her embroidery and artwork. He encouraged Yadav to move to canvas as a medium. “It was then I realised Mithila art can also be a profession. But I struggled initially to adjust from painting walls to painting on canvas. I used a lot of sketch books before finishing my first piece,” she recalls.Now, her work have been displayed in international and national exhibitions. Her first solo exhibition, Colors of Change, ran <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/mithila-art-with-a-message/&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGzXhBe09gq1Bzvn7tX9ABeTznuIA">last year at the Nepal Art Council</a>, during which she caught the attention of the Swiss Ambassador to Nepal Elisabeth von Capeller. Yadav held her second exhibition in August 2019 in conjunction with the Swiss embassy.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9869c7e80680e08021ajpeg.jpg" alt="" width="622" height="866"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9889c7e80680e08021bjpeg.jpg" alt="" width="640" height="478">She has also been awarded for her work, winning a national artwork exhibition organised by the Nepal Academy of Fine Arts from the traditional artwork category in April 2019. Yadav’s plans to broaden her artistic horizon have been delayed by the Covid-19 pandemic.A weeklong exhibition planned for 7-14 June was postponed indefinitely, while a trip to Europe planned for April was cancelled. Plans to open a Mithila art training workshop in Jhamsikhel in Patan have also been thrown into disarray.Despite this, Yadav is making the best of the time she has during the lockdowns. She recently welcomed a son to the family, with whom she has got to spend time. She says: “There is no point in distressing about cancelled projects. It is a time for reflection, rebirth and spending quality time with my baby.”

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Modern Mithila art that bares injustice

<img width="1478" height="1094" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181148/636a96f29c7e80680e05dc97jpeg.jpg" alt=""/>An exhibition of contemporary art on Padmasambhava does not just revive the legend of the Buddhist guru, but also displays the wide variety of art practised in Nepal today. These artworks explore spiritual questions like the value of life, afterlife and a world beyond human experiences.Ten artists each bring their distinctive style to the personality of Padmasambhava, the Guru Rimpoche who meditated across the Himalaya, creating along the way what are now important pilgrimage sites. Known as the founder of Vajrayana Buddhism, Padmasambhava was a monk from Swat, in present day Pakistan, who travelled to Nepal to meditate among the mountains, and went on to Tibet. He is still highly revered by many Buddhist communities, including the <a href="https://www.nepalitimes.com/banner/new-newa-art/" target="_blank" rel="noopener">Newa</a> and Tibetan Buddhists of Nepal.“The teachings of Padmasambhava mark the third turning point in the evolution of Buddhism, and advocate the importance of a guru in attaining salvation. The exhibition wants to convey this particular message,” says art critic Madan Chitrakar.Read also: <a href="https://www.nepalitimes.com/review/turbulent-times/" target="_blank" rel="noopener">Turbulent times</a>, Sewa BhattaraiMany of the artworks in this Nepal Art Council exhibition depict the figure of the renowned Rimpoche, but it is the work of Dawa Omu Lama (pictured right) that stands out, with its Padmasambhava etched in bright white lines against a deep red and black background. Departing from traditional colour palettes, Lama chooses a minimalistic theme that gives the appearance of translucence and transcendence.Sahil Bhopal paints a monastery in another planet, in the theme of past, present, and future. “In the past, I saw a monastery in Himachal Pradesh neglected and Padmasambhava’s sculptures were peeling off. Today, it is being restored. Tomorrow I see the guru’s teaching finding new followers,” explains the artist, whose work features aliens and modern technology in hologram. <img width="640" height="960" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181148/636a96f69c7e80680e05dc98jpeg.jpg" alt="">Other artists have also experimented with the thangka form. Sunil Babu Karki ‘Putu’ has portrayed himself awakening with surprise to Padmasambhava’s light, and Sundar Lama paints Padmasambhava in traditional poses but against neutral backgrounds, as a symbol of timelessness. Bijay Maharjan has depicted the guru, his vajra, and many other traditional items as an interplay between light and shadow, colour and form, that changes as you look at them closely. Bijay Koirala presents Padmasambhava in a more angry form, via a faded painting.Read also: <a href="https://www.nepalitimes.com/banner/new-newa-art/" target="_blank" rel="noopener">New Newa art</a>, Sewa Bhattarai <img width="1350" height="1082" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181148/636a96f99c7e80680e05dc99jpeg.jpg" alt="">The sculptures and installation artwork also draw viewers. Sculptor Chandra Shyam Dangol provides a traditional interpretation of the guru, with simplified statues in beautiful, glowing black stone. He has also created abstract themes in stone and sand. Sushma Shakya has created an umbrella out of rudraksha beads. <img width="1162" height="1150" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181148/636a96fc9c7e80680e05dc9ajpeg.jpg" alt="">“An umbrella signifies protection, and is often used over gods. An umbrella of rudraksha beads is meant to give protection to people and devotees,” she says. Suresh Yonzon’s installation art pieces are fascinating: crystals of white, blue and mixed colours that appear luminescent, and are installed on floors and walls. “Some subjects are deep and vast, but that does not mean that we cannot understand them,” says artist Saroj Bajracharya, who also curated the exhibition. “We want to explore Padmasambhava's message of compassion, which is central to our spiritual life.”Appearance of lightNepal Art CouncilUntil 1 December

Guru Rimpoche in a new light

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a46d29c7e80680e04d3fbjpeg.jpg" alt="" width="1500" height="1125"/><figcaption>All photos: SEWA BHATTARAI</figcaption></figure>Ishan Pariyar did not intend for his exhibition at Siddhartha Art Gallery to coincide with the raging protests down the street against the <a href="https://www.nepalitimes.com/banner/culture-revolution/" target="_blank" rel="noopener">Guthi Bill</a>, but it so happened that it did. Pariyar’s series, started in 2015, seems prescient today: a crane moves in to <a href="https://www.nepalitimes.com/opinion/fixing-what-aint-broke-2/" target="_blank" rel="noopener">dismantle heritage</a> buildings, whose lion-like guardians rise up to form a protective guard of honour around the structures.Titled Reminiscences, the paintings are a voice raised for the protection of our culture and heritage, although the artist says he is not an activist.Most of his work depicts boats at sea. “Water is a symbol of time, and the boats are a symbol of life,” says the artist. “I have used boats because they take you from one place to another. Here, the boats take us on the journey of life through time.”Many of the boats contain statues of deities: a golden Avalokiteswar and a large, red-hued Bhairav, among others. Pariyar says the deities symbolise our faith and the traditions they embody. As the boats ply vast bodies of water, sometimes gently floating and sometimes rocked by the waves, some deities floating as the boats capsize, the viewer gets the sense that the gods are delicate, fragile figures. They need protection, like our heritage.Read also: <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank" rel="noopener">Mithila art with a message</a>, Prakriti Kandel<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a46d59c7e80680e04d3fcjpeg.jpg" alt="" width="1500" height="780">For Pariyar, it is all part of looking back at history. He sees the deities as the end product of a long process of evolution, and believes that the faith they embody leads to spiritual growth.“Religious monuments are witness to different times and eras, and the moments we are breathing are the reminiscences for the future,” says Pariyar. “The eternal and invisible force of the divine is imprinted in our psyche, thus giving us inspiration to preserve these ancient monuments and beliefs.”Every inch of Pariyar’s paintings is covered by unique textures. The artist is from Pokhara, hence the images of boats, but unlike the colourful ones floating on Phewa Lake his vessels are covered in wood carvings of Kathmandu’s monuments, in earthy browns and dark greys. Lion-like and garuda-like figures appear often protecting temples, the golden sculptures contrasting starkly with the watery background.Read also: <a href="https://www.nepalitimes.com/banner/new-newa-art/" target="_blank" rel="noopener">New Newa Art</a>, Sewa Bhattarai<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a46d89c7e80680e04d3fdjpeg.jpg" alt="" width="1500" height="525">The seas and oceans are rendered in minute, oval droplets, even when the colour ranges from a peaceful blue to menacing, stormy green. Pariyar says the texture is of a bitter gourd, because life is bitter and there is no option but to deal with it. However, the visual impact is not bitter — the droplets look pleasantly ornate.Reminiscences, by Ishan PariyarSiddhartha Art GalleryUntil July 9

Turbulent times

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934239c7e80680e03dfdbjpeg.jpg" alt="" width="1510" height="1000"/><figcaption>A painting by Ang Tsherin</figcaption></figure>There used to be a time when Tibetan devotional art meant murals and thangkas. Not anymore. An  <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">internationally-renowned Sherpa family</a> has given modern meaning to the historic art form.Tulku Jamyang, 41, and his brother <a href="https://www.youtube.com/watch?time_continue=3&amp;v=tAl0ni6iQ14" target="_blank" rel="noopener">Ang Tsherin</a>, 50, learnt thangka painting from their famous father, Urgen Dorje Sherpa. He did not just teach his sons the craft of the art, but also the spiritualism behind it.However, as they grew up, the brothers found the format too rigid and formless, and with little room for personal exploration. Even as they turned to more private expressions, however, their creations today  display clear influences from the early roots."My works are not thangka, they portray my personal take on today's society and politics, the feeling of being out of place everywhere, whether as an ethnic minority in Nepal, or an oriental man in the West," explains <a href="http://www.tsherinsherpa.com/" target="_blank" rel="noopener">Ang Tsherin</a>, whose art often depicts alienation and displacement. Buddhist deities wear socks and underclothes in unconventional postures.Tulku Jamyang (pictured right) lives a hermit-like existence in his studio in Kathmandu, but is a keen observer of the changes he sees around him. A young woman wears a gown of rhododendron clutching on to a Starbucks mug, and in another commentary on the slow pace of development in Nepal seven sloth bears represent the seven provinces of Nepal.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934269c7e80680e03dfdcjpeg.jpg" alt="" width="640" height="427">These and other paintings by Tulku Jamyang are on display and sale at the <a href="http://www.siddharthaartgallery.com/cms/index.php?option=com_content&amp;view=category&amp;layout=blog&amp;id=42&amp;Itemid=73" target="_blank" rel="noopener">Changing Lanes exhibition</a> at the Siddhartha Art Gallery. The artist’s technique is to burn tiny holes with incense on paper that give the works a meticulous dot matrix texture.He combines this technique with western motifs like Leonardo Da Vinci's Last Supper, Van Gogh's Starry Night, and Marcel Duchamp's urinal. "I include these western motifs because this is how Nepali society is changing," explains Jamyang, who portrays migration and alienation through a painting of Nepalis in different ethnic costumes sitting at a table like in The Last Supper.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934299c7e80680e03dfddjpeg.jpg" alt="" width="1500" height="1125"><figcaption> </figcaption></figure>Jamyang spent 11 years as a monk in a monastery, which gives his art a dense and spiritually layered appearance. Not only do they contain his own interpretations of the Buddha, but the act of burning holes with incense sticks to create his images is itself a spiritual performance. The process has to be so precise that a single mistake can ruin the entire painting, so for Jamyang the total concentration it requires is like meditation."I use all the pancha tatwa or the five elements that together represent truth: earth, water, air, fire, and water, in my paintings. My canvas is the earth and incense sticks are fire. When I blow on them, I use the air, and the liquid colours represent water. When they are displayed in space, that is the sky element."Ang Tsherin (pictured right), for his part, is self-taught. His abstract style evolved from his own exploration into modern art and interactions with fellow artists of many nationalities. Though his work may look contemporary, he admits the technique is derived from thangka art that he learnt from his father as a child.Though both brothers turned away from thangka, today they find appreciation and concern for the Tibetan and Nepali devotional art form. "As a child, I used to be ashamed that I was learning this art," recalls Tsherin. "At that time it was seen as something uneducated people did for a living, and was not respected. It was cooler to be doctors and engineers."<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/6369342d9c7e80680e03dfdejpeg.jpg" alt="" width="640" height="427">It was in the United States in 1998 that Tsherin saw the traditional paintings of his community through Western eyes, began to appreciate its richness and grew concerned about its degeneration – with commercialisation and the loss of the philosophical underpinning of the art.Tsherin relocated back to Nepal last year after 20 years in the US. He adds: “I only realised the value of my heritage after I saw it respected abroad. I now want to pass on that appreciation to the next generation of Nepali artists. If the artworks of living master like my father can be treasured by museums, then it will also inspire a new generation. That will be a step towards conserving it.”Tulku Jamyang agrees: “The artist must survive for the art to survive, so we must take care of the artists. Economic survival is important, and in the case of thangka, so is respect.”At 75, their father Urgen Dorje, continues to be active and is currently restoring a monastery in Tatopani.Changing LanesSiddhartha Art GalleryUntil 29 NovemberRead also:<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">The world beyond thankas</a>, Smriti Basnet<a href="https://www.nepalitimes.com/banner/sacred-survival/" target="_blank" rel="noopener">Sacred survival</a>, Michael Gordan

The craft of art

In the black and white photograph, General Wangdu smiles broadly in front of the dusty cactus garden in Kathmandu’s Annapurna Hotel. With an ill-fitting jacket and shaggy hair he looks benign enough, but this was the last leader of the Tibetan freedom fighters who led the resistance against the Chinese from their remote mountain hideouts in <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a>. Five months later, Wangdu was dead. Snapped in March 1974, I had only recently arrived in Nepal. How did I meet this legendary fighter? Possibly with his devoted camp follower, Lynne Klapecki, and probably in the Om Restaurant near Freak Street which was the preferred <a href="https://nepalitimes.com/banner/hippie-trail-nostalgia-in-kathmandu">hippie hang-out</a>. Om Lobsang and his brother Yeshe were <a href="https://archive.nepalitimes.com/page/earthquake-brings-back-memories-of-camps-for-tibetan-refugees">refugees from East Tibet </a>whose cafe offered a friendly welcome and<a href="https://nepalitimes.com/multimedia/momo-loco"> the best momos</a> - they became my in-laws after I married their eldest brother Tenzin, but that was a decade later.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1.jpg" data-media-id="editor_4" data-image-id="2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1" data-rendition-name="original" width="1000" height="1583" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Photo: LISA CHOEGYAL</figcaption> </figure>  Wangdu’s English was enthusiastically rudimentary, but even riding around town with him on the back of an aging <a href="https://nepalitimes.com/here-now/kathmandu-s-new-motorbike-museum">motorbike</a>, he was a commanding presence. Always flanked by armed outriders, impressive scars marked his forearms and a pistol hung from the cord around his neck. A charismatic guerrilla leader, Wangdu was celebrated by his followers for his tough commitment and respected for his measured pragmatism. He seemed so young to have shouldered such a responsibility of command, leading hundreds of hardened <a href="https://archive.nepalitimes.com/article/nation/50-years-after-the%20raid-into-Tibet,1012#google_vignette">Khampa combatants </a>through what had been a particularly <a href="https://nepalitimes.com/news/heavy-snowfall-over-nepal-himalaya">brutal winter in Mustang</a>, the last bastion to hold out against the Chinese invasion of their Tibetan homeland.&nbsp; The freedom fighters of Tibet, known as the Chushi-Gangdruk, had emerged to resist the <a href="https://nepalitimes.com/editorial/territorialism">Chinese takeover</a> of Tibet during the 1950s. Estimated to be 80,000-strong at the time of <a href="https://nepalitimes.com/here-now/what-or-who-after-the-dalai-lama">the Dalai Lama</a>’s final escape to India in 1959, the sheer number of Chinese deployed into Tibet eventually forced the Chushi-Gangdruk to retreat to Mustang, From this high Himalayan stronghold, they continued cross-border raids on the Chinese People’s Liberation Army (PLA) throughout the 1960s.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd.jpg" data-media-id="editor_10" data-image-id="2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd" data-rendition-name="original" width="1114" height="676" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Guerrillas known as the Chushi-Gangdruk emerged to resist the Chinese annexation of Tibet during the 1950s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>  Their Kathmandu base was a small discreet lodge in a back lane near Rani Pokhari. Sipping sweet tea from a blue mug with a chipped lid, I sat bemused in a corner of the Mustang Hotel room whilst Wangdu and his cohorts received a battered brown suitcase from their CIA connection, a tousle-haired American in a leather jacket. Heaved onto the dingy bedspread that covered the thin mattress, it was clicked open to reveal piles of neatly stacked dollar bills.&nbsp; I cannot think why Wangdu allowed me to witness this handover but I was clearly no threat, a newly arrived world traveller with no understanding of the stakes nor any Nepali or <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan language</a>. Despite armed guards in the corridor,Wangdu radiated confidence and bravado, and there was a practiced familiarity to the tense transaction. This deadly dance for many years had been funded by the Americans, tolerated by <a href="https://nepalitimes.com/here-now/the-kingdom-within-a-republic">Mustang’s residents</a>, and permitted by King Mahendra and the Nepali authorities who it suited to turn a blind eye.&nbsp; But Mahendra died in 1972, and times were changing. Richard Nixon’s ping-pong diplomacy thawed the cold war and signalled a fresh entente with China. Nepal’s yet-to-be-crowned <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">King Birendra </a>was under pressure to curb the irritating incursions against the PLA launched from the Nepali territory of Mustang. Keen to appease his northern neighbour, on several occasions the King summoned Wangdu for peace talks but, despite increasingly overwhelming odds, Wangdu refused to surrender.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb.jpg" data-media-id="editor_14" data-image-id="2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb" data-rendition-name="original" width="1055" height="885" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>General Wangdu flanked by two Tibetan resistance fighters in Mustang in the 1970s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31.jpg" data-media-id="editor_15" data-image-id="2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31" data-rendition-name="original" width="1044" height="792" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>King Birendra with General Wangdu (right in dark glasses) taken in 1974 possibly in Mustang after one of their few attempts at negotiation. Photo courtesy: RAJRNDRA KUNWAR</figcaption> </figure>  While I naively rode pillion around Kathmandu in the spring sunshine, Wangdu was in the midst of what turned out to be his final round of negotiations with the Nepal government. Refusing to cease hostilities with the Chinese, Wangdu must have suspected the cost of his decision, making his cheerful smile in the photograph all the more poignant and brave. It was only much later that I appreciated the significance of the moment. Wangdu had been sent to replace the first resistance leader in Mustang, Baba Gen Yeshe, a much derided corrupt character who stole money meant for his troops and exploited fleeing refugees by seizing their treasures. Baba Gen Yeshe never forgave Wangdu,and sought revenge in May 1974 by betraying him and his commanders to the Nepal authorities. Renewed Chinese incursions from the north, active PLA collusion with the Nepali forces under the new King, and treachery from within the Chushi-Gangdrukranks combined to seal their fate.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0.jpg" data-media-id="editor_16" data-image-id="2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0" data-rendition-name="original" width="1400" height="769" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>British television journalists George Patterson and Adrian Cowell embedded themselves with Khampa guerrillas and accompanied them from Tsum Valley on a cross border raid on a Chinese Army convoy in 1964. Photo: ESSAYS ON NEPAL / SAM COWAN</figcaption> </figure>  Mikel Dunham, renowned author of Buddha’s Warriors, writes: ‘It is possible that Wangdu was waiting for some cue from the Dalai Lama’s government-in-exile in Dharamsala, India. It is equally possible – during that last, <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush?fbclid=IwZXh0bgNhZW0CMTEAAR31-Cqw8oyIwMPzf_35e4Skr0ululJvLf3_vDkzHn-AYG2h8uPw2rqqErg_aem_tGVn5coY1-jA7fze_xqhew">desolate winter </a>– that he made the decision to go out in glory rather than admit defeat. Over the last fifteen years, Wangdu had experienced Tibet’s organized resistance being squeezed and shoved around by every conceivable outside force.&nbsp; First they had been pushed out of their own country by the PLA; then they had been refused sanction while on <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds?fbclid=IwAR0PpJ5zUEbwdug3g_U3ar6FUugngRY0S8Tl2v_7wqzrsHmXWcXsKjvL4t4">Indian soil</a>; then they were abandoned by the Americans because, apparently, Nixon wanted to make friends with Wangdu’s mortal enemies, the communists; then they had been betrayed by the vampiric Baba Gen Yeshe – a Tibetan and, even worse, a fellow Khampa; and now, finally Wangdu’s army was being evicted by the Nepalis. One thing was certain: Wangdu was a warrior. To imagine Wangdu simply giving up and settling down in the pacific squalor of a <a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp">refugee camp </a>was unthinkable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49.jpg" data-media-id="editor_20" data-image-id="2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49" data-rendition-name="original" width="500" height="746" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>The much derided Baba Gen Yeshe, the first Tibetan resistance leader in Mustang, who betrayed Wangdu for personal gain. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3.jpg" data-media-id="editor_21" data-image-id="2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3" data-rendition-name="original" width="500" height="656" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Aditya SJB Rana of the Royal Nepal Army whose team ambushed Wangdu and his cohorts at the top of Tinker Pass in Darchula, West Nepal. Photo courtesy: GAUTAM SJB RANA</figcaption> </figure>  By August 1974 the game was up. Wangdu and six of his exhausted party were killed on their horses by <a href="https://archive.nepalitimes.com/news.php?id=7270">the Royal Nepal Army</a> on the brink of escape. The officer in charge, Aditya SJB Rana, cleverly predicted their route into India after they failed to silence a police radio in Yari. A carefully laid ambush trapped them near the summit of the Tinker Pass in Darchula,at 5,000 meters the highest military operation of its time. Wangdu’s body was helicoptered to Kathmandu, and a big show made of the royal Nepal victory.&nbsp; The Tibetan armed insurgency against China had reached its end.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4.jpg" data-media-id="editor_23" data-image-id="20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The last days of the Khampa NT"> </figure>

The Last Days of the Khampa

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;

Turkish to Seville

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;

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